Wednesday, September 13, 2017
Marius Preda's Mission Cimbalon on CD
Jazz cimbalom? Or, for the more folk-inclined, the hammered dulcimer? The instrument doesn't come up a lot while discussing jazz emnsembles. Marius Preda would like to change that with this new CD, appropriately titled Mission Cimbalom. Preda also plays vibraphone, violin, accordion, contrabass, piano and the pan flute. He sings, too. But it's the cimbalom that's in the spotlight for this release, with its quick hammered tempos and light textures it makes just as much sense as either the piano or the vibraphone--at least in the context of jazz.
Preda's love for the cimbalom dates back to his fourth birthday when he received the instrument as a gift from his grandmother. He loved the instrument and spent most of his early years learning it and refining his technique. When he was older he took up the vibraphone, and the mastering of that instrument led him back to his childhood toy. Playing jazz vibraphone prompted a few new ideas about playing the cimbalom, inspiring Preda to become the "world's first jazz cimbalom player."
Much of Mission Cimbalom addresses this theme, that the jazz cimbalom is far more than a novelty. The sound and timbre of the instrument is especially impressive as the speed of the hammering increases and the woody sound of striking strings starts to jump forward, away from the other musicians. That's when the cimbalom takes on a new roll as the bridge between rhythm section and soloist and sometimes replaces both.
Since he's surrounded by eight other musicians, Preda does get a chance to perform in different roles with completely different energies and moods. That's particularly obvious when he shifts away from the cimbalom to play tango with his accordion, or to single a quiet ballad while accompanying himself on piano. Mission Cimbalom does tend to distance itself from its titular musical instrument as it goes along, but the album also settles into a more solid groove in the later tracks. Early on I get a heavy sense of the emerging '90s nostalgia, plucked electric bass and a deepening dependence on "pretty" synthesizers that seems to be slipping into more and more recordings these days.
Perhaps we can expect more focus on the cimbalom in the future, and its ability to dig in and represent jazz. I think Preda makes an outstanding case for a leading role.